Claude Marc Bourget - C'est une belle journée

Pilgrim of the String

JEAN-PIERRE CHASSÉ
PILGRIM OF THE STRINGS / ACOUSTIC GUITAR
STRINGS/アコースティックギターの巡礼者

PRODUCTIONS DE L’ONDE
Catalog number : OND2-4072

All music by Jean-Pierre Chassé.

Recorded May 2011, Studio de l’onde, Montreal. Executive producer: Claude Marc Bourget.
Recording producer and engineer:
Jacques Laurin. Mixing by Jacques Laurin. Mastering by Carl Talbot, Le Lab Mastering, Montreal. Photo by Jean-Pierre Chassé. Graphics by (illusions) Philippe Ghielmetti.

A Claude Marc Bourget Production, with the support of Alain Robert.

Jean-Pierre Chassé is playing a Moisan guitar.

PILGRIM OF THE STRINGS / REVIEWS


Critique / Pilgrim of the Strings ⎯ Chassé

06/08/12   REVIEW   
JAZZ TIMES, USA,
by Susan Frances

PILGRIM OF THE STRINGS

Pilgrim of the Strings, the new recording from acoustic guitarist Jean-Pierre Chassé is a lush embroidery of ambient soundscapes tooled in penetrating improvisations, protracting arpeggios and melodic fractals. The Montreal native teamed up with classical pianist Claude Marc Bourget who produced the recording while mixed and mastered by Jacques Laurin. A synthesis of flamenco, bossa nova and ambient jazz, Pilgrim of the Strings soars with a nimble imagination reflective of vintage Django Reinhardt and the melodic sensibilties of Paco.

The soft, angelic sonorous of « Passage To Europe » contrasts the rattling chords swagging « Lo Mas Importante es Vivir.» The elegant flamenco wings of « The Other Side of Eyes » move with a dancer’s instinct switching to the taut arpeggios of « Narmada Ka Pani » highlighting sizzling, erotic chord rotations which are embellished by Turkish accents. The gentle acoustic twirls and spinning riffs of « Pas a Pas » complement the whispery tendrils of « Ishindenshinun » ascending and descending along the melodic scale creating a storytelling voicing in the chord expressions creased by a Spanish flare. The graceful gait of the chord scheme along « Los Ultimos Pajaros » is propelled by sprinting chord patterns and sleek improvisations that retract and soar trajecting intermittantly. The bossa nova stylizing of « Atoll das Rocas » changes to a bop-inspired rhythm in « Bop’s Memories » reminiscent of the gypsy tones of Django Reinhardt and the bluesy entwines of Richard Hart.

Jean-Pierre Chassé is a one of kind guitarist. His sense of melodic phrasing and timing for penetrative improvisations puts him in the ilk of Paco. His tracks weave into each other without disruption moving with the ease of the Alps flowing across the borders of Frances, Switzerland and Italy. Motivated by passion, Pilgrim of the Strings gives definition to ambient jazz with comfy atmospherics that allude to evenings cruising along the Mediterranean. (JazzTimes) / Read the review by Susan Frances.

PILGRIM OF THE STRINGS

20/05/12   REVIEW, par Nicolas Pelletier
BLOGUE EN MUSIQUE, Québec

LE VIRTUOSE JEAN-PIERRE CHASSÉ SE DISTINGUE

Trop souvent, les musiciens comme le guitariste Jean-Pierre Chassé passent inaperçus. La musique qu’ils émettent n’est simplement pas assez sexy, pas assez pop, pas assez prévisible pour que le grand public s’y intéresse. Les médias aussi, nous avons notre part de responsabilité dans ce manque de visibilité. Exposer des talents tels celui de Jean-Pierre Chassé ne “rapporte” pas autant qu’un (autre) potin sur une chanteuse R’n’b qui dévoile un peu plus de poitrine que le mois dernier.

Je vous invite ce matin à prendre une pause de tout cela et de prendre le temps d’apprécier la superbe musique de ce guitariste extraordinaire qu’est Jean-Pierre Chassé. Aussi habile dans un style classique contemporain que le flamenco ou le tango (Los mass importante es vivir), ce Montréalais de 56 ans n’a rien à envier aux Steve Howe (Yes) de ce monde. Son style varie entre jazz et classique et est teinté de plusieurs influences. On pourrait dire qu’il se cherche. On pourrait aussi dire qu’il se distingue.Alors qu’aujourd’hui, il est si facile de programmer des échantillonnages pour monter un groove accrocheur, on oublie trop vite qu’il doit exister des virtuoses instrumentaux pour créer des passages dignes d’être repris. Le nouveau disque de Chassé est bien plus que des passages, c’est un superbe recueil de neuf pièces instrumentales qui font vibrer la guitare classique de façon spectaculaire. Chassé peut jouer la carte de la virtuosité technique puis celui de la sensibilité dans le phrasé suivant. Comme tout grand musicien, Jean-Pierre Chassé sait laisser sonner chaque note. Il comprend le rôle de chacune: sur The Other Side of Eyes, la mélodie est en avant-plan, solide, alors que des fioritures passent leur chemin plus loin derrière, à un autre niveau.

Oui, vraiment, Jean-Pierre Chassé est un musicien d’un autre niveau. Les mélomanes ouverts aux styles musicaux les plus variés sauront le reconnaître dès les premiers instants.

(Blogue en musique) / Lire la critique par Nicolas Pelletier.

PILGRIM OF THE STRINGS


Greenland, song of the Ice

CLAUDE MARC BOURGET
GREENLAND, SONG OF THE ICE, for solo violin
Groenland, ou le chant des glaces, pour violon solo

1.Song of the Ice / 7’02

Frédéric Bednarz, violin

SCÈNES DE LA RÉPÉTITION.

VIDÉO DU CONCERT DE LA CRÉATION.

 

Livret PDF.   

Achetez la partition
GREENLAND, SONG OF THE ICE
Pour violon seul (score-partition)

…………………………………………………..

Bourget Music (METIS ISLANDS MUSIC) / Catalogue : BM-002
Musique par Claude Marc Bourget.

Enregistré le 11 août 2011, à l’Église Notre-Dame-de-la-Compassion, Métis-sur-Mer, Québec, Canada.
Enregistré, mixé and masterisé by Claude Marc Bourget.


Noviaus tanz

CLAUDE MARC BOURGET
NOVIAUS TANZ, for violin, cello, virtual violins & virtual double bass

Frédéric Bednarz, violin
Pierre-Alain Bouvrette, cello
Claude Marc Bourget, samples, programming, arrangement

Pdf Booklet : Web or print.

1.Signes (moderato) 2’59
2. Ferments (largo) 4’48
3. Cadences (più allegro) 7’34

NOVIAUS TANZ REVIEW 

5/14/12   REVIEW   
JAZZ TIMES, USA, by Susan Frances

NOVIAUS TANZ review (extract)

Classical pianist Claude Marc Bourget plays a new role on his latest recording Noviaus Tanz from Metis Islands Production as a programmer and arranger of the virtual violin and virtual double bass. Coupling electronic music with the acoustic ethers of cellist Pierre Alain Bouvrette and violinist Frederic Bednarz, Bourget creates elevating raptures and extemporaneous ripples that focus the mind and stimulate calmness through the soul.

The harmonies are melodically organized and arranged to flow with a natural elegance. Silky textured strings open “Ferments” coiled in winding cello rings. The verses roam with a vivacious spontaneity projecting orchestral arcs spruced by branches of improvisational sprigs. The broad, hushed strokes of “Cadences” alternate between light and heavy pressured notes while the crisp stride of “Signes” is garnished in ballerina-like twirls, lifts and jetes. The instruments transmute a lead and follow scheme which seduces the listener to move along with the established pattern.

Noviaus Tanz is innovative music with a dichotomy of electronic and acoustic sounds molding them into electrifying compositions. The improvised swags and curves add to the pieces majesty and allude to a sonic plane beyond the temporal world. 

* * *

Noviaus Tanz is a hybrid work, which includes two interpreters and virtual strings. The first step was writing the composition for violin and cello duet, which was interpreted in the studio, so traditional.

Noviaus Tanz est une oeuvre hybride,qui réunit un duo d’interprètes et des cordes virtuelles. La première étape de composition fut l’écriture du duo pourviolon et violoncelle, qui fut interprété en studio, de manière traditionelle.

Then, a second level of composition was to add digitals parts (midi). Finally it should be mixed in a spirit of integration and multiple equilibria.

Ensuite, un second niveau de composition consistait à ajouter des parties virtuelles en langage midi. Finalement, le tout devait être mixé dans un esprit d’intégration et d’équilibre multiple.

Noviaus Tanz is actually a plural dialogue. Dialogue violin-cello, celeste spring dialogue with the deep earth, and man-machine dialogue, as becomes and remains today our freedom and our chain.

Noviaus Tanz est en fait un dialogue pluriel. Dialogue violon-violoncelle, dialogue du printemps celeste avec la terre profonde, et dialogue homme-machine, tel qu’il est demeure et devient, aujourd’hui, notre liberté et notre chaîne.

* * *

Bourget Music (Metis Islands records) / Catalog number : MIM-001
All music by Claude Marc Bourget.

Recorded February 2011, Studio de l’onde, Montreal.
Engineer : Jacques Laurin, Mixing by Claude Marc Bourget and Carl Talbot.
Mastering by Carl Talbot, Le Lab Mastering, Montreal.


Critiques / Musiques de ballet

JAZZ INSIDE MAGAZINE, New-York

Interview
Making Beautiful Music With Just Two Hands
. “For me, playing the piano is black and white photography applied to music. It is the orchestra in equation. Everything is there, but at the principle level, behind the image, like roots under the flowers. I love black and white in photography. The piano with its black and white keys immediately gives the sign of its economy. In that sense, only the string quartet would approach it. The jazz trio too, belongs to this pure world. Other trinity, other mystery,”

ASSOCIATED CONTENT, ARTS & ENTERTAINMENT

Musiques de Ballet is a phenomenal endeavor which gels multiple expressions, textures and dynamics that bend and reflect capriciously, and subsequently inject meaning into Bourget’s art.”

JAZZ INSIDE MAGAZINE, New-York

Pianist Claude Marc Bourget can orchestrate energizing symphonies with the nimble movements of his ten fingers across the keys of a grand piano.  The protégé of such arduous musicians as Chopin, Debussy, Stravinsky, Paul Bley, and Keith Jarrett, Bourget has a heart that is true to his passionate nature and a mind that exhibits a boundless imagination. (…) Like his predecessors, Claude Marc Bourget is not trapped into becoming a period pianist but a musician whose improvisations will be relevant for centuries to come.  His synthesis of jazz and classical music structures is inspiring and positions him to become a source of motivation for aspiring musicians to come.


Deux préludes polyphones (improvisations)

(23 janvier 2010). —  Deux improvisations du pianiste canadien Claude Marc Bourget, qui revisite à sa manière de libre jazzman l’esprit polyphonique prébaroque.
Two improvisations by the Canadian pianist Claude Marc Bourget, who plays, in his manner of free jazzman, the spirit polyphonic of pre-Baroque.


Taylor le pianiste (sur Cecil taylor)

CECIL TAYLOR 80 BIRTHDAY CELEBRATION, 2009

Taylor le pianiste, par Claude Marc Bourget (pdf)

Brochure complète CECIL TAYLOR 80 BIRTHDAY CELEBRATION, 2009


Musiques de ballet / Piano

CLAUDE MARC BOURGET
MUSIQUES DE BALLET / PIANO
バレエ音楽

AUDIENCE
Catalog number : AD004
Recorded in Françoys-Bernier Concert Hall Domaine Forget, Saint-Irénée, Canada.

Musiques de ballet / New Release 2010 (doc)

Épuisé / Sold Out. Bientôt chez / See you soon at Metis Islands Music.
Réédition en cours sur Bancamp (ci-dessous). Current reissue on Bancamp (see below).

 

Reford Gardens Suite ou 14 estampes dansées
The High Bank 1:34
Poppies of the Tsangpo 2:15
T he Exbury Azaleas 2:48
The Alpine to the Millstone 1:10
The Floral Terrace Between Rain and Sun 3:32
Blue Heron in the Pond 1:31
Belvedere on the Silver River 2:28
In Search of Gentians 1:54
Bathing Birds of the Night 4:19
Long Walk in the Royal Colors 3:28
The Crabapple Red Spring 2:38
Alone in the Stream Garden 1:27
Woodland Deepening 0:59
Supernatural Presence of the Primula 1:23

Sept entrées de ballet
Entrée à deux (homme et femme) 3:46
Entrée seul (homme) 1:10
Entrée seule (femme) 2:05
Entrée à deux (femme, enfant) 3:51
Entrée à deux (homme, enfant) 1:00
Entrée à trois (homme, femme, enfant) 2:48
Entrée seul (enfant) 0:57

À venir en réédition / To reissue :

España mística (y appostilla) 4:34

Passacailles étranges et tragiques
Première passacaille 1:44
Deuxième passacaille 1:38
Dernière passacaille 4:21

Naissance du cygne 2:55

Pas de deux 3:42

AFTER OFFERING us Second Time, Claude Marc Bourget is back with a second solo album, “Musiques de Ballet” (Ballet Music). Second Time, published under a New-York label in 2008, was quickly noticed by American and Italian Critics. Jazz review, Jazz Times, All About Jazz Italia have praised the work of Bourget. Susan Frances, from Jazz Review, wrote : “Bourget conveys deep emotions in his compositions allowing the notes to speak from his soul. He has a mind that sees music unlike anyone else’s. A virtuoso on the piano, but also as a masterful composer”.

Musiques de Ballet, a new CD from Bourget will most certainly receive equal praises, but, also, his style, his way, his themes, such as the theme from “Reford Gardens”, will reach a larger audience among music lovers. Recorded in the magnificent setting of Domaine Forget’s François Bernier Hall, this is new and fresh music, purely pianistic, with sounds of Paul Bley and Keith Jarrett, but also of Debussy, Stravisnky, Rachmaninov and Chopin. An irresistible weaving, with original colors and performance.

My Ballet Musics, says Bourget, even if they call and lead to dance, are not choreographic musics per say, or musics for dancing, but rather “dancing musics” of gesture inspiration: ballerina-pieces, in which rythms and scales dance and jump, towards an idea of Beauty. Besides, a little jazzy, a little classical, they are not Jazz, they are not Classical. Neither improvised, neither written, but recalled from a souvenir, recalled by the eye and the ear, my Ballet musics are synthesis musics. We are in the age of Synthesis, of the rolling echo of centuries, of the new look on the sound memories of time.”

« Mes musiques de ballet, bien qu’elles appellent et conduisent à la danse, ne sont pas des musiques chorégraphiques au sens premier, ou des musiques pour la danse, mais des musiques dansantes et d’inspiration gestuelle : des musiques-ballerines, dont toujours dansent et sautent, vers une idée de la Beauté, les cadences et les gammes. Par ailleurs, un peu jazzantes, un peu classiques, elles ne sont pas du jazz, elles ne sont pas du classique. Ni improvisées, ni écrites, mais rappelées par le souvenir, remémorées par l’œil et par l’ouïe, mes musiques de ballet sont des musiques de synthèse. Nous sommes à l’âge des synthèses, de l’écho roulant des siècles, du regard nouveau porté sur la mémoire sonore du temps ».

 


Critiques / Second Time

ALL ABOUT JAZZ, ITALY

(…) Second Time, realizzato in perfetta solitudine su uno Steinway gran coda (suono magnifico!), si sviluppa infatti come un lungo racconto, come una lunga suite. Preceduta da un cappello introduttivo, la prima parte si muove lungo le coordinate “consuete” del piano solo in chiave jazz. Gli inevitabili echi jarrettiani, dunque. Ma assai più forte, in Bourget, è l’impronta del conterraneo Paul Bley. L’amore per la risoluzione inattesa, per il cambio d’umore che, nello spazio di una nota, ci porta da un gioioso maggiore ad una malinconia più intima.

Con lo scorrere delle tracce si insinuano qua e là, fino a diventare predominanti, gli echi classici. Non solo dal punto di vista compositivo (Brahms e Beethoven, cuore della seconda parte), ma anche da quello esecutivo. La mano sinistra, spesso trascurata dai pianisti jazz, svolge qui un lavoro enorme diventando a tratti la vera protagonista.  ⎯ Paolo Peviani

JAZZ TIMES, USA

Bourget creates a balance between the deposits of rage and peacefulness in nature. His compositions channel the moods which guide nature’s course, and draws out its beauty even when confronted with its darker, brooding tirades. Second Time demonstrates Bourget’s agility as a pianist, and skillfulness to convey nature’s messages to audiences. He shows a desire for challenges, and a need to master them. ⎯ Susan Frances

JAZZ REVIEW, USA

“The intensity of the music and the quality of the recording pull you into the music, until you feel almost as if you are sitting alone in a concert hall. (…) No matter whether you are solo piano aficionado or not, Bourget’s sound is enthralling.  His technical and creative facilities alone are admirable, but the sheer intensity of his music is enough to draw the most callused listener in.  When so much music follows set forms of conformity and repeating phrases, it’s easy to get lost in the long, full themes that seem to never end.  I am not traditionally a fan of solo piano works, and I probably won’t go out and buy any right away, but this album will definitely have a spot in my listening library.” ⎯ Lorelei Clarke

JAZZ REVIEW, USA

“ Bourget’s compositions are strictly focused as well as free to soar as high as the creative imagination will allow and sink as low as the heart’s emotional abyss. Through the episodes of deep contemplation and mesmerizing flights, Bourget exhibits impressive maturity that causes people to stop in their tracks and listen to him. (…) His long stretches of wanderings wicked by the piano keys seem mysteriously guided, as even the moments of transgressions manage to stay on course like they are under a trance, which stops them from trailing away from their objective, and every track resounds with an objective in mind. (…) His album Second Time shows his skills as a virtuoso on the piano, but also as a masterful composer and arranger. At 52 years of age, Bourget does not seem to want to turn back time, but to move ahead with it, as Second Time embraces huge challenges and tests Bourget’s reflexes to move spontaneously along the changing tides.” ⎯ Susan Frances

JAZZ FRISSON, CANADA

« Bourget est un pianiste exigeant. Introspectif par moment, plus exubérant sur certains morceaux, il nous fait vivre toute une gamme d’émotions. Il faut se laisser envelopper par sa musique, dont l’émotion se dévoile par couches successives comme l’aube naissante révèle les détails qui nous entourent. La musique de Bourget est majestueuse, vecteur de tous les chagrins, joies et espoirs qui y transitent sereinement. » ⎯ Jazz Frisson).

THE LIVE MUSIC REPORT, CANADA

Bourget “explore a mysterious and vast territory. A great gust of wind blowing the melodies against a wall of sound”. (Live Music Report) . / Read the full review byJessica Lombardi.


Second Time, Improvisation circle

CLAUDE MARC BOURGET
SECOND TIME, IMPROVISATIONS CYCLE / PIANO
新しいリリースでは、 月 2回目は、即興サイクル

Quebec Improvised Musics Society

Épuisé / Sold Out. Bientôt chez / See you soon at Metis Islands Music.

“Emotional, uninhibited,
and hauntingly beautiful.”

Susan Frances, Jazz Review

Second Time New release 2008 (pdf / 399 Ko)

SECOND TIME REVIEWS

SECOND TIME TRACK LIST

Opening 1:40

Part I
Northern Restlessness     5:19
Interlude 1:02
Plays Of Winds 5:08
Dance Of The Large Bird 5:02
Secret Ice 4:27

Part II
Second Time 6:57
Lull In Ashes (Brahms) 4:00
Song Of Destiny (Beethoven) 3:14
Song Of Past  2:55
Tides Of Hopewell Rocks 2:48

Part III
Dripping Of Whiteness 3:36
Ungrund      5:08
River In The Air 3:51
Awakening Cycle 5:22
Coda 0:59

Rising Death (Adagio) 3:36

65:14